Still brilliant

I’m sure that I have shared this before, but I can’t find it. However, having seen it again on my Instagram feed last night, I was reminded just how brilliant it is, and so I’ve decided to share it (again?).

It’s from Chaz Hutton – aka Instachaz (there’s a link to his shop there as well) – and it’s just so simply clever.

The two distinct choices available, depending on your mood at the moment in which you complete the jigsaw. Do you take the sensible, responsible approach and enjoy some freedom later, or do you choose to be a bit more ‘devil-may-care’ and then… er… probably also enjoy some freedom later anyway?

Look, I’m usually the former, but catch me at the right moment and I will quite literally not give a toss about what needs to be done that day.

Crazy

This is so good. SOOOOO good.

Step forward “Actor and Writer” James McNicholas – jmcnik on the IG – who reminds us that songs are merely words set to music. He’s done a few of these deconstructed songs as “dramatic” monologues, and they are good. But this one is the best.

You might recognise the original as being Crazy by Gnarls Barkley. A worldwide hit in 2006.
Allow me to jog your memory.

But lob on some fake sideburns and a Victorian shirt and waistcoat, be the weird scientist (who experimented upon himself?), and add some pauses and some incredible eye contact, and you have something moving, compelling, intriguing and almost spellbinding.

There’s Jekyll and Hyde, there’s Jules Verne, there’s H.G. Wells and more in there.

As a monologue and a performance, it couldn’t be further from the original, but it still stands.
Amazing stuff.

Also check out his MmmBop, which is actually (lyrically) a damn fine song.

Misplaced review

I understand that the posts I do about music don’t often hit everyone’s spot.
That’s ok. I get it.

But this one might be different if you’re willing to do a bit of looking through this Youtube or Spotify catalogue.

I spotted this on Instagram, of all places. And the caption was:

I listened to this, and so now you have to.

And I get that different people have different opinions on things (see above), and that’s (mostly) ok, but wow.

For me, this is really, really beautiful.

The ending. Goosebumps.

I thought that I’d shared something from PMJ on here before, but if I did, I can’t find it.

Maybe I thought I should, and then something important happened.

Sorry.

Postmodern Jukebox, also known as Scott Bradlee’s Postmodern Jukebox, is a rotating musical collective founded by New York based pianist Scott Bradlee in 2011. Postmodern Jukebox is known for reworking popular modern music into different vintage genres, especially early 20th century forms such as swing and jazz.

It’s important to understand that not everything makes sense when converted to 20’s and 30’s jazz. But when it does… it really does. Habits works. Black Hole Sun works. The Smiths in country style – amazingly – works. Creep is – of course – hypnotisingly beautiful.

The huge range of artists they cover, the varying sets and costumes, the occasional monochrome, the special guest artists on each track, the different genres employed. It all adds to a pretty cool listening and viewing experience.

There’s even one for the TA (if he’s got this far!)*.

Give it a go.

Youtube channel.
Spotify link.

Worst lines

The winners of the 2024 Bulwer-Lytton Fiction Awards have just been announced, and many of them (and the (dis)honourable mentions and runners-up) are pretty good.

Founded in 1982 at San Jose State University in California, the Bulwer-Lytton Fiction Contest challenges entrants to compose opening sentences to the worst of all possible novels. 

As someone once said: “Deliberately bad writing requires a special talent.”

It’s true. But interestingly, I have no special talent at all.
All the stuff on this blog is entirely accidental. Just variable fortune and the occasional evening filled with Castle Milk Stout with which to distractedly guide my typing fingers.

Anyway, back to the BLFA, and, as you might expect for the highest (only?) awards for this particular genre, they’re bad.

You’ll need to have your brain fired up and be in the right mood (receptive and ready to work through some mental calculations) to enjoy the lot of them before you click that link, so I recommend taking it a bit at a time.

They’re not going anywhere.

And I could list them all here, but I’m not going to. Still, here are a couple of favourites to get you in the mood.

Cthulhu awoke from loathsome dreams of gangrenous decay and the foul stench of congealing viscera, lifting his pulpy, misshapen head to find what foolish supplicant had roused him to yet another age of fear and creeping dread, but found his bloodthirst unslaked, having been brought to consciousness not by horror-filled screams of human sacrifice but by his little sister’s overly dramatic wail of “Cthulhu’s touching me!” from her side of the family station wagon’s back seat.

If broken hearts were made of simple syrup, and shattered dreams were made from white rum, and agony and despair came from ¾ ounce of lime juice, freshly squeezed, and three mint leaves respectively, then Mary Lou just served up a mojito cocktail straight from the ninth circle of hell when she told Ricky the baby wasn’t his.

And these weren’t even their best in class. So click through and enjoy.

On Connections

Mmm. I haven’t played the NYT Connections game for a while, but while other members of the family were at piano class, I thought that I’d give it a go. And it was while I was doing that, that I found this article by Connections editor, Wyna Liu.

This isn’t a new article: it’s a year and a bit old, but it does make interesting reading. Because it does rather make it seem like Wyna came up with this revolutionary idea of how to make the game work:

There would have to be a mix of categories for the game to feel challenging and satisfying. That’s where the puzzle element could come in: Some categories might be defined by their use of wordplay — palindromes, homophones, adding or dropping letters and words — rather than the literal meanings of the words on the cards. I saw three areas of potential difficulty that could be adjusted: the familiarity of the words, the ambiguity of their categorization and the variety of the wordplay.

But if you have ever watched Only Connect, the TV quiz show which began in 2008, then you’ll already have been enjoying “Connections” as “The Wall” for 15 years before NYT and Wyna began their version.
And they “saw” how to make it harder a long time before she did.

If there is a regular criticism of Connections, it’s that many of the answers are rather America-specific: baseball team nicknames or supermarket mascots; stuff that anyone outside the US wouldn’t know. But although it attracts an international audience, it’s an American site, and there’s ample opportunity for you to learn stuff about America from the internet.

Equally though, there was surely plenty of opportunity for Wyna and the NYT to know that “Connections” already existed. And I’m not saying that it was trademarked or anything – as far as I know, there’s no legal axe to grind here – just that pretending that it was a concept that they came up with… well… that’s a bit much.

Still, I do occasionally go and get my Connections fix. And when I need some more, I go to Puzzgrid, which… er… also pre-dated Connections. And why makes no bones about where it got the idea from (and pops a subtle dig at the NYT):

And why not go and enjoy the original on Only Connect, since it has just begun its 20th series?

Other Only Connect posts on 6000 miles…
Other Puzzgrid posts on 6000 miles…